The Chieftains, “Voice of Ages” (Hear Music)
There was no way they could have seen this coming. First, Irish music heroes the Chieftains scored a couple big-name indie collaborators for their next record, which will mark its 50th anniversary. Next, Bon Iver hit the mainstream, charting on Billboard and scoring a couple Grammy noms. And then, Bon Iver won two Grammys and was later spoofed on “Saturday Night Live” — right before its collaboration with the Chieftains hit stores and sites.
Suddenly indie rock fans are coming to the Chieftains via Spotify and other avenues — for the expectedly down-tempo Bon Iver collab, “Down in the Willow Garden” — and witnessing (for the first time, in many cases) one of world music’s best-known treasures.
Everybody wins.
“Voice of Ages” is traditional in the sense that these songs could have been featured on any of the band’s releases. What sets it apart: This 50th anniversary release is their “Duets,” featuring Wisconsin’s Bon Iver, alt-folk favorites the Civil Wars, bluegrass bandits the Punch Brothers and other celebrated groups from the indie rocksphere — including the Decemberists, the Low Anthem, Carolina Chocolate Drops and others.
The crossover potential is very real. The Bon Iver track sounds like a Bon Iver track — lush, melancholic and lovely, accented by extra instrumentation. The Decemberists’ contribution, the muted “When the Ship Comes In,” is more traditional than their typical fare — but perfectly buoyant regardless.
Fans of Carolina Chocolate Drops and their feel-good jigs won’t be let down. Their “Pretty Little Girl” gets a smile-inducing boost from the Chieftains that makes for a moving treat. — Ricardo Baca, The Denver Post
Lyle Lovett, “Release Me” (Curb/Universal)
On “Release Me,” Lyle Lovett makes like the Brown Eyed Handsome Man and touches all the bases. There’s gospel-tinged R&B (“Isn’t That So”), jump blues (“Keep It Clean”), a murder ballad (“Dress of Laces”), a classic duet (“Baby, It’s Cold Outside”), a Christmas novelty number (“The Girl With the Holiday Smile”) and a Chuck Berry cover (the aforementioned “Brown Eyed Handsome Man”). All are very good.
There’s also an instrumental hoedown (“Garfield’s Blackberry Blossom”), a weepy country duet (“Release Me”), a trucking song (“White Freightliner Blues”), bedtime music (“Night’s Lullaby”) and a closing church hymn (“Keep Us Steadfast”). Those tunes are fair to middling.
This is Lovett’s final album for Curb/Universal, his label since he started making records, which may explain why he seems to be coasting a bit. That was also the case during a recent live performance, when he spent more time talking than singing. But there’s no doubting Lovett remains a man of many muses.
CHECK THIS OUT: For more than half a century, baseball fans have grumbled about Berry’s lyric, making the count two-three with the Brown Eyed Handsome Man at bat. Did Chuck goof, or was he saying blacks had three strikes against them in the 1950s? Lovett changes the count to three-two — and gives Henry Aaron a shout-out. — Steven Wine, Associated Press
